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2025-06-05 09:38:01 -

New F37 typeface launches with “deadpan” posters celebrating Manchester

Type foundry F37 has launched a new typeface inspired by one of Manchester’s last wooden street signs. And they worked with designer Craig Oldham and copywriter Ellen Ling to bring it to life on a series of billboards celebrating the city’s particular brand of pride.
F37 Mancunio is based on the typeface on the sign underneath the railway in St Michael’s Place. F37 founder Rick Banks was drawn to the uneven stroke endings on the ‘C’ and the ‘S’ and designer Rodrigo Fuenzalida worked it into a full typeface with nine weights and “a width axis for flexibility.”
Mancunio is named after the Roman fort that once stood in present-day Castlefield.
“Rick found the reference ages ago and always wanted to turn it into a font,” says F37’s Keelin Wright. “We wanted to take something from the city, and create a font that represents the history of Manchester, but still feels quite modern as well.”
The sign in St Michael’s Place that inspired F37’s Mancunio typeface
Wright explains that although there are a lot grotesque sans serif fonts in the F37 library, the “quirky” letter endings and old-style numerals create “ a more human type of grotesque.”
When it came to launching the typeface, Wright says they wanted to celebrate its connection to Manchester – where F37 is based – in the right way.
“We thought because we’ve taken something physical from the city in terms of the sign, we want to give something physical back,” she explains. “We felt that the billboards would give something typographic to the city, especially around springtime, when Manchester is coming out of the gloom.”
F37’s Mancunio typeface
Banks and Oldham had worked together on several previous projects and bought in Ling to develop the copy-led campaign.
She admits it was a daunting brief in some ways, given some high-profile misfires with localised campaigns in Manchester in recent years.
In 2022, locals ridiculed a Magnum advert which misrepresented one of the city’s more insalubrious squares, while a recent Adidas billboard for Manchester United proclaiming that “Manneh is Red” was equally derided.
Writing on LinkedIn, designer and United fan Andrew Whitehead said he had never once heard the club referred to as Manneh. “It’s not a nickname. It’s not Manchester United. It’s just… off,” he wrote. “This is what fake authenticity looks like.”
“There is all this localised stuff that just bombs,” Ling says. “The pressure is on not to do something that feels tired and out of touch.”
F37’s Mancunio typeface
The team all felt it was important to steer away from many of the well-worn Manchester motifs, which many people feel have been co-opted by commercial interests looking to exploit the city’s creative soul.
“When we were putting the brief together, we found pages and pages of reference for things that we didn’t want,” Wright says. “It was much harder to find things that showed what we actually wanted.”
“A lot of this stuff feels like it was made by outsiders,” Oldham says. “History didn’t start here in the 1980s – there’s a wealth of culture and community spirit.” It was exciting, he says, to avoid cliches around Tony Wilson, the Hacienda stripes, and the city’s bee symbol and try and capture “the stoicism, the acerbic wit and the self-deprecating pride.”
Some of the posters do take familiar topics – like the city’s famously bad weather or Ian Brown’s quote that Manchester has “Everything but a beach” – but Ling says they worked hard to find “a sting in the tail” and “reclaim” these tropes.
Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair.
Other references are extremely local and deliberately perplexing to outsiders, such as the celebration of Boombox Barry, an iconic local personality.
“He’s part of our everyday experience of being in Manchester,” Ling says. “It was nice to give him his flowers in terms of the joy that he brings, and the enigma that he is.”
One poster even references the Magnum-advert debacle, celebrating “alfresco tinnies on a piss-soaked Piccadilly G.”
For the design, they tried several approaches, including using acid colours, but Oldham says he and Banks realised at one point they were “trying too hard.” The stark white text on black background was the perfect way to showcase the typeface, Oldham says, and stands out in the cityscape.
“This dense spot of black cuts through this ocean of visual clutter,” he explains. “It confronts people, and forces them to read the words.”
Ling adds that the design works perfectly to communicate the deadpan tone of her copy lines.
Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair.
Manchester’s creative scene has been struggling with the changes wrought by the city’s rapid growth and development in recent years. Designers have even taken to remixing the city’s famous visual language to protest against “incessant gentrification.”
Oldham recognises the tension, although he thinks it’s happening in many cities.
“I think as cities grow and change rapidly, you get to a crossroads,” he says. “What are we going to change into? What are we going to take with us? And what have we got to leave behind?
“I think that’s a universal worry, but Manchester’s very much at that point in its life cycle right now.”
Ling agrees. “It’s not that the city’s independent spirit is being crushed, it’s more like it’s being Last Of Us fungi-d,” she says, in reference to the hit HBO show. “It does feel that everything that you know in your bones makes Manchester great is being commoditised.”
F37’s Mancunio typeface
Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair.
Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair.
Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair.
Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair.
#new #f37 #typeface #launches #with

New F37 typeface launches with “deadpan” posters celebrating Manchester
Type foundry F37 has launched a new typeface inspired by one of Manchester’s last wooden street signs. And they worked with designer Craig Oldham and copywriter Ellen Ling to bring it to life on a series of billboards celebrating the city’s particular brand of pride. F37 Mancunio is based on the typeface on the sign underneath the railway in St Michael’s Place. F37 founder Rick Banks was drawn to the uneven stroke endings on the ‘C’ and the ‘S’ and designer Rodrigo Fuenzalida worked it into a full typeface with nine weights and “a width axis for flexibility.” Mancunio is named after the Roman fort that once stood in present-day Castlefield. “Rick found the reference ages ago and always wanted to turn it into a font,” says F37’s Keelin Wright. “We wanted to take something from the city, and create a font that represents the history of Manchester, but still feels quite modern as well.” The sign in St Michael’s Place that inspired F37’s Mancunio typeface Wright explains that although there are a lot grotesque sans serif fonts in the F37 library, the “quirky” letter endings and old-style numerals create “ a more human type of grotesque.” When it came to launching the typeface, Wright says they wanted to celebrate its connection to Manchester – where F37 is based – in the right way. “We thought because we’ve taken something physical from the city in terms of the sign, we want to give something physical back,” she explains. “We felt that the billboards would give something typographic to the city, especially around springtime, when Manchester is coming out of the gloom.” F37’s Mancunio typeface Banks and Oldham had worked together on several previous projects and bought in Ling to develop the copy-led campaign. She admits it was a daunting brief in some ways, given some high-profile misfires with localised campaigns in Manchester in recent years. In 2022, locals ridiculed a Magnum advert which misrepresented one of the city’s more insalubrious squares, while a recent Adidas billboard for Manchester United proclaiming that “Manneh is Red” was equally derided. Writing on LinkedIn, designer and United fan Andrew Whitehead said he had never once heard the club referred to as Manneh. “It’s not a nickname. It’s not Manchester United. It’s just… off,” he wrote. “This is what fake authenticity looks like.” “There is all this localised stuff that just bombs,” Ling says. “The pressure is on not to do something that feels tired and out of touch.” F37’s Mancunio typeface The team all felt it was important to steer away from many of the well-worn Manchester motifs, which many people feel have been co-opted by commercial interests looking to exploit the city’s creative soul. “When we were putting the brief together, we found pages and pages of reference for things that we didn’t want,” Wright says. “It was much harder to find things that showed what we actually wanted.” “A lot of this stuff feels like it was made by outsiders,” Oldham says. “History didn’t start here in the 1980s – there’s a wealth of culture and community spirit.” It was exciting, he says, to avoid cliches around Tony Wilson, the Hacienda stripes, and the city’s bee symbol and try and capture “the stoicism, the acerbic wit and the self-deprecating pride.” Some of the posters do take familiar topics – like the city’s famously bad weather or Ian Brown’s quote that Manchester has “Everything but a beach” – but Ling says they worked hard to find “a sting in the tail” and “reclaim” these tropes. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Other references are extremely local and deliberately perplexing to outsiders, such as the celebration of Boombox Barry, an iconic local personality. “He’s part of our everyday experience of being in Manchester,” Ling says. “It was nice to give him his flowers in terms of the joy that he brings, and the enigma that he is.” One poster even references the Magnum-advert debacle, celebrating “alfresco tinnies on a piss-soaked Piccadilly G.” For the design, they tried several approaches, including using acid colours, but Oldham says he and Banks realised at one point they were “trying too hard.” The stark white text on black background was the perfect way to showcase the typeface, Oldham says, and stands out in the cityscape. “This dense spot of black cuts through this ocean of visual clutter,” he explains. “It confronts people, and forces them to read the words.” Ling adds that the design works perfectly to communicate the deadpan tone of her copy lines. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Manchester’s creative scene has been struggling with the changes wrought by the city’s rapid growth and development in recent years. Designers have even taken to remixing the city’s famous visual language to protest against “incessant gentrification.” Oldham recognises the tension, although he thinks it’s happening in many cities. “I think as cities grow and change rapidly, you get to a crossroads,” he says. “What are we going to change into? What are we going to take with us? And what have we got to leave behind? “I think that’s a universal worry, but Manchester’s very much at that point in its life cycle right now.” Ling agrees. “It’s not that the city’s independent spirit is being crushed, it’s more like it’s being Last Of Us fungi-d,” she says, in reference to the hit HBO show. “It does feel that everything that you know in your bones makes Manchester great is being commoditised.” F37’s Mancunio typeface Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. #new #f37 #typeface #launches #with

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New F37 typeface launches with “deadpan” posters celebrating Manchester
Type foundry F37 has launched a new typeface inspired by one of Manchester’s last wooden street signs. And they worked with designer Craig Oldham and copywriter Ellen Ling to bring it to life on a series of billboards celebrating the city’s particular brand of pride. F37 Mancunio is based on the typeface on the sign underneath the railway in St Michael’s Place. F37 founder Rick Banks was drawn to the uneven stroke endings on the ‘C’ and the ‘S’ and designer Rodrigo Fuenzalida worked it into a full typeface with nine weights and “a width axis for flexibility.” Mancunio is named after the Roman fort that once stood in present-day Castlefield. “Rick found the reference ages ago and always wanted to turn it into a font,” says F37’s Keelin Wright. “We wanted to take something from the city, and create a font that represents the history of Manchester, but still feels quite modern as well.” The sign in St Michael’s Place that inspired F37’s Mancunio typeface Wright explains that although there are a lot grotesque sans serif fonts in the F37 library, the “quirky” letter endings and old-style numerals create “ a more human type of grotesque.” When it came to launching the typeface, Wright says they wanted to celebrate its connection to Manchester – where F37 is based – in the right way. “We thought because we’ve taken something physical from the city in terms of the sign, we want to give something physical back,” she explains. “We felt that the billboards would give something typographic to the city, especially around springtime, when Manchester is coming out of the gloom.” F37’s Mancunio typeface Banks and Oldham had worked together on several previous projects and bought in Ling to develop the copy-led campaign. She admits it was a daunting brief in some ways, given some high-profile misfires with localised campaigns in Manchester in recent years. In 2022, locals ridiculed a Magnum advert which misrepresented one of the city’s more insalubrious squares, while a recent Adidas billboard for Manchester United proclaiming that “Manneh is Red” was equally derided. Writing on LinkedIn, designer and United fan Andrew Whitehead said he had never once heard the club referred to as Manneh. “It’s not a nickname. It’s not Manchester United. It’s just… off,” he wrote. “This is what fake authenticity looks like.” “There is all this localised stuff that just bombs,” Ling says. “The pressure is on not to do something that feels tired and out of touch.” F37’s Mancunio typeface The team all felt it was important to steer away from many of the well-worn Manchester motifs, which many people feel have been co-opted by commercial interests looking to exploit the city’s creative soul. “When we were putting the brief together, we found pages and pages of reference for things that we didn’t want,” Wright says. “It was much harder to find things that showed what we actually wanted.” “A lot of this stuff feels like it was made by outsiders,” Oldham says. “History didn’t start here in the 1980s – there’s a wealth of culture and community spirit.” It was exciting, he says, to avoid cliches around Tony Wilson, the Hacienda stripes, and the city’s bee symbol and try and capture “the stoicism, the acerbic wit and the self-deprecating pride.” Some of the posters do take familiar topics – like the city’s famously bad weather or Ian Brown’s quote that Manchester has “Everything but a beach” – but Ling says they worked hard to find “a sting in the tail” and “reclaim” these tropes. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Other references are extremely local and deliberately perplexing to outsiders, such as the celebration of Boombox Barry, an iconic local personality. “He’s part of our everyday experience of being in Manchester,” Ling says. “It was nice to give him his flowers in terms of the joy that he brings, and the enigma that he is.” One poster even references the Magnum-advert debacle, celebrating “alfresco tinnies on a piss-soaked Piccadilly G.” For the design, they tried several approaches, including using acid colours, but Oldham says he and Banks realised at one point they were “trying too hard.” The stark white text on black background was the perfect way to showcase the typeface, Oldham says, and stands out in the cityscape. “This dense spot of black cuts through this ocean of visual clutter,” he explains. “It confronts people, and forces them to read the words.” Ling adds that the design works perfectly to communicate the deadpan tone of her copy lines. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Manchester’s creative scene has been struggling with the changes wrought by the city’s rapid growth and development in recent years. Designers have even taken to remixing the city’s famous visual language to protest against “incessant gentrification.” Oldham recognises the tension, although he thinks it’s happening in many cities. “I think as cities grow and change rapidly, you get to a crossroads,” he says. “What are we going to change into? What are we going to take with us? And what have we got to leave behind? “I think that’s a universal worry, but Manchester’s very much at that point in its life cycle right now.” Ling agrees. “It’s not that the city’s independent spirit is being crushed, it’s more like it’s being Last Of Us fungi-d,” she says, in reference to the hit HBO show. “It does feel that everything that you know in your bones makes Manchester great is being commoditised.” F37’s Mancunio typeface Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair. Ellen Ling and Craig Oldham’s posters to launch F37’s Mancunio typeface. Photo by Tim Sinclair.

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Courtney Eliseo paylaşılan bir bağlantı
2025-05-24 22:13:50 -

10 Luxurious Jewel Tone Color Palettes

10 Luxurious Jewel Tone Color Palettes

In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.As a designer who’s always searching for color combinations that exude sophistication and richness, I find myself constantly returning to jewel tones. These deep, saturated hues possess an inherent elegance that can instantly elevate any design project. Named after precious gemstones, jewel tones bring a sense of luxury and depth that’s simply unmatched by other color families.
Whether you’re working on a high-end brand identity, designing an opulent interior space, or creating packaging that needs to convey premium quality, jewel tone palettes offer the perfect solution. I’ve curated ten stunning jewel tone color combinations that will add instant glamour and sophistication to your work.
Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »10 Rich Jewel Tone Color Palettes
1. Scarlet Sapphire

#1e3a5f

#0f4c3a

#2d8659

#dc143c

#2d1b47

This extraordinary palette brilliantly captures the unexpected marriage of warm passion and cool sophistication. The deep navy and forest tones create a sophisticated foundation that speaks of tradition and reliability, while the vibrant scarlet red adds an electrifying pop that commands attention.
I love how the deep purple grounds the entire combination, preventing it from feeling too stark. This palette is perfect for brands that want to convey both trustworthiness and innovation – think luxury tech companies or premium financial services that need to stand out in conservative industries. The warm pop against the elegant backdrop creates visual tension that’s absolutely magnetic.
2. Emerald Shadow

#0d3b2e

#1a5f4a

#2d8659

#4a7c59

#6b5b73

Pure luxury distilled into color form – this palette embodies everything I love about sophisticated emerald combinations. The progression from deep forest shadow through multiple shades of emerald creates incredible depth and richness, while the purple undertones add an unexpected twist that elevates the entire palette beyond typical green combinations.
I find this particularly effective for high-end wellness brands, luxury hotels, or premium skincare lines where you want to convey both natural authenticity and refined elegance. The subtle variations in green create a sense of movement and life that feels both organic and carefully curated.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere.

3. Sapphire Sunset

#1a1b5e

#003366

#008080

#ff6b47

#2f3e46

The magic of this palette lies in how it balances cool sophistication with warm energy. The deep sapphire blues create a foundation of trust and stability, while the vibrant coral accent brings warmth and approachability. The teal bridge between cool and warm creates a smooth transition that makes the entire combination feel harmonious rather than jarring.
I often recommend this palette for luxury travel brands, premium outdoor gear, or innovative tech companies that want to feel both reliable and exciting. It’s sophisticated enough for corporate applications yet warm enough for consumer-facing brands.
4. Azure Majesty

#003366

#004d7a

#008080

#2e8b57

#1e4d72

Classic luxury redefined – this palette speaks the language of traditional elegance with a contemporary voice. The progression through various blues and blue-greens creates a sense of depth and movement that reminds me of looking into clear ocean waters.
Each shade builds upon the last, creating a sophisticated gradient that feels both timeless and fresh. I love using this combination for established luxury brands that want to maintain their heritage while appealing to modern consumers. It works beautifully for high-end jewelry, premium spirits, or luxury automotive brands where tradition and innovation need to coexist seamlessly.
5. Copper Flame

#722f37

#003366

#008b8b

#cd853f

#483d8b

This palette brings together richness and warmth in the most compelling way. The deep burgundy and navy create a sophisticated backdrop, while the copper accent adds warmth and luxury that prevents the palette from feeling too cold or corporate.
The purple undertones add depth and mystery that makes the entire combination feel more complex and interesting. I find this particularly effective for premium spirits, luxury dining establishments, or high-end home goods where you want to create an atmosphere of warmth and sophistication. The copper element adds an artisanal quality that speaks to craftsmanship and attention to detail.
6. Vintage Velvet

#4b0f3b

#6b1f5e

#8b4d7a

#5d4e75

#2f3e46

Pure luxury in its most refined form – this palette captures the opulent feel of vintage velvet fabrics and antique jewelry. The progression through various purples and plums creates incredible richness and depth, while the darker tones add mystery and sophistication.
There’s something almost tactile about this color combination that makes you want to reach out and touch it. I love using this palette for high-end fashion brands, luxury beauty products, or premium interior design where you want to convey both heritage and contemporary luxury. The monochromatic approach creates unity while the varied tones prevent monotony.
7. Ruby Fire

#2d1b47

#0f3b2e

#1e6b52

#e74c3c

#4a2c5e

Bold and dramatic, this palette commands attention while maintaining sophistication. The deep purple and forest tones create a rich foundation, while the ruby red accent brings passion and energy that’s impossible to ignore. I love how the darker tones ground the vibrant red, preventing it from feeling too aggressive or overwhelming.
This combination works beautifully for luxury fashion brands, premium automotive, or high-end cosmetics where you want to convey both sophistication and passion. The dramatic contrast creates visual impact that’s perfect for brands that need to stand out in crowded markets.
8. Royal Midnight

#1a1b5e

#2e2d7d

#4a4d8a

#6b4e79

#8b3a62

This palette captures the sophisticated fun of evening elegance with a contemporary twist. The progression through various purples and blues creates a sense of movement and depth that feels both playful and refined. There’s something about this combination that reminds me of twilight in a royal garden – mysterious, beautiful, and slightly magical.
I find this palette particularly effective for luxury entertainment brands, premium lifestyle products, or innovative beauty companies that want to feel both sophisticated and approachable. The subtle variations create visual interest without overwhelming the senses.
9. Sunset Jewels

#4b0f3b

#074e67

#2e8b57

#d4542a

#1e4d72

This palette achieves the perfect balance between warm energy and cool sophistication. The deep purple and navy create a rich foundation, while the emerald green adds freshness and the coral accent brings warmth and vibrancy. I love how each color complements the others while maintaining its own distinct personality.
This combination works beautifully for brands that want to feel both innovative and trustworthy – think premium outdoor gear, luxury travel companies, or high-end wellness brands. The warm pop prevents the palette from feeling too serious while the sophisticated base keeps it professional.
10. Emerald Garden

#0f4c3a

#1e6b52

#2d8b67

#4d7c5e

#6b5d73

Fresh luxury with a natural sophistication – this palette captures the beauty of an emerald garden in the golden hour. The progression through various greens creates incredible depth and richness, while the purple undertones add complexity and prevent the palette from feeling too simple.
There’s something both grounding and uplifting about this combination that makes it perfect for brands focused on wellness, sustainability, or natural luxury. I often recommend this palette for premium organic brands, luxury spa treatments, or high-end gardening products where you want to convey both natural authenticity and refined quality.

Why Jewel Tones Are Perfect for Modern Design
The enduring appeal of jewel tones lies in their ability to convey luxury without appearing ostentatious. Unlike bright neons or muted pastels, jewel tones possess a natural richness that feels both timeless and contemporary. These colors have depth and complexity that photographs beautifully and translates well across different media.
As someone who’s worked with countless color palettes over the years, I’ve noticed that jewel tones have a unique ability to make any design feel more premium. They suggest quality, craftsmanship, and attention to detail – qualities that resonate strongly with today’s consumers who value authenticity and excellence.
The psychological impact of these colors is also significant. Deep blues convey trust and stability, rich purples suggest creativity and luxury, emerald greens evoke growth and prosperity, while ruby reds communicate passion and energy. When used thoughtfully, jewel tones can help communicate your brand values without saying a word.
Mastering Jewel Tones in Contemporary Design
Working with jewel tones requires a different approach than using brighter or more muted colors. Here’s what I’ve learned from years of incorporating these rich hues into modern design projects:
Create Stunning Contrast
Jewel tones look absolutely spectacular when paired with crisp whites or deep blacks. This contrast prevents the richness from becoming overwhelming while allowing the colors to truly shine. I often use white space generously when working with these palettes to give each color room to breathe.
Mix Textures and Finishes
These colors lend themselves beautifully to different textures and finishes. Consider how emerald green might look with a matte finish versus a glossy one, or how sapphire blue appears on silk versus canvas. The interplay between color and texture can dramatically enhance the luxurious feel of your design.
Layer Different Jewel Tones
Don’t be afraid to combine different jewel tones within a single design. Emerald and sapphire work beautifully together, as do amethyst and garnet. The key is to vary the saturation levels and use one color as the dominant hue while others serve as accents.
Consider the Context
While jewel tones are inherently luxurious, they can be adapted to different contexts. A tech startup might use jewel tones in a more minimalist way, while a luxury hotel could embrace their full opulence. Understanding your audience and context will guide how boldly you use these colors.
The Psychology Behind Our Love for Jewel Tones
Understanding why we’re drawn to jewel tones can help us use them more effectively in our designs. These colors tap into several psychological triggers that make them particularly appealing:
The connection to precious stones immediately suggests value and rarity. Throughout history, these gemstone colors have been associated with wealth, power, and status. When we see these hues, we unconsciously associate them with quality and luxury.
There’s also something deeply satisfying about the richness and depth of jewel tones. Unlike flat, single-note colors, jewel tones have complexity – they seem to contain multiple hues within themselves, creating visual interest that holds our attention.
From a cultural perspective, many jewel tones have positive associations across different societies. Deep blues are almost universally associated with trust and stability, while rich greens connect us to nature and growth. These universal positive associations make jewel tones safe choices for international brands.
Jewel Tones Across Different Design Disciplines
The versatility of jewel tone palettes makes them suitable for virtually any design application, though each field has its own considerations:
Luxury Branding
For high-end brands, jewel tones are almost a requirement. They instantly communicate quality and exclusivity. I’ve found that using jewel tones in logo design, particularly when combined with elegant typography and plenty of white space, creates an immediate impression of sophistication. The key is restraint – let the richness of the colors speak for themselves rather than overwhelming the design with too many elements.
Interior Design Magic
In interior spaces, jewel tones can create incredibly dramatic and luxurious environments. An accent wall in deep emerald or sapphire can transform an entire room, while jewel-toned accessories add richness without commitment. I love seeing how these colors interact with different lighting throughout the day, revealing new depths and nuances.
Digital Design Excellence
For web and app design, jewel tones can create memorable user experiences. Using these colors for call-to-action buttons or important interface elements draws attention while maintaining sophistication. However, accessibility is crucial – ensure sufficient contrast ratios when using darker jewel tones for text or interface elements.
Fashion and Product Design
The fashion industry has long embraced jewel tones for their ability to flatter virtually every skin tone while conveying luxury. In product design, these colors can transform everyday objects into premium items. Think about how a deep sapphire blue phone case feels more expensive than a bright plastic one.
Seasonal Considerations for Jewel Tones
While jewel tones are timeless, they do have seasonal nuances that smart designers can leverage. The deeper, richer tones like garnet and emerald feel naturally autumnal and can create cozy, intimate atmospheres perfect for fall and winter projects.
Lighter jewel tones, particularly those with blue and green undertones, can work beautifully for spring and summer projects when paired with crisp whites and metallics. The key is adjusting the saturation and supporting colors to match the seasonal mood you’re trying to create.
The Future of Jewel Tone Design
As we move forward in 2025, I see jewel tones becoming even more important in design. In an increasingly digital world, these rich, tactile colors help create emotional connections that transcend screens. They remind us of the physical world of precious stones and natural beauty.
The sustainability movement has also increased appreciation for colors that feel timeless rather than trendy. Jewel tones don’t go out of style the way seasonal color trends do, making them smart long-term choices for brands and spaces.
Bringing Jewel Tone Magic to Your Projects
Working with jewel tone palettes has taught me that luxury isn’t about using the most expensive materials or the most complex designs. Sometimes, it’s simply about choosing colors that inherently communicate quality and sophistication.
Whether you’re designing a tech startup’s brand identity or planning a luxury hotel’s interior, jewel tones offer a shortcut to elegance that few other color families can match. The key is understanding the unique properties of each hue and using them with intention and restraint.
Remember that these colors have centuries of cultural associations behind them. When you choose emerald green, you’re not just picking a color – you’re tapping into associations with growth, prosperity, and natural beauty. When you select sapphire blue, you’re communicating trust, stability, and depth.
The most successful jewel tone designs are those that respect the inherent power of these colors while adapting them to contemporary contexts. Don’t be afraid to experiment, but always keep in mind the sophisticated legacy these hues carry.
So embrace the richness, dive into the depth, and let jewel tones transform your next design project. In a world full of fleeting trends, these timeless colors offer something rare: instant, enduring elegance that never goes out of style.

Zoe Santoro

Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way.

These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...7 Best 50s Color Palettes that are “The Cat’s Pajamas”When I look for inspiration that balances nostalgia with timeless appeal, I always find myself drawn to the refined elegance...What Colors Make Blue?Blue is more than just a color—it’s an experience. When we encounter blue, we’re drawn to its tranquil beauty, finding...
#luxurious #jewel #tone #color #palettes

10 Luxurious Jewel Tone Color Palettes
10 Luxurious Jewel Tone Color Palettes In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.As a designer who’s always searching for color combinations that exude sophistication and richness, I find myself constantly returning to jewel tones. These deep, saturated hues possess an inherent elegance that can instantly elevate any design project. Named after precious gemstones, jewel tones bring a sense of luxury and depth that’s simply unmatched by other color families. Whether you’re working on a high-end brand identity, designing an opulent interior space, or creating packaging that needs to convey premium quality, jewel tone palettes offer the perfect solution. I’ve curated ten stunning jewel tone color combinations that will add instant glamour and sophistication to your work. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »10 Rich Jewel Tone Color Palettes 1. Scarlet Sapphire #1e3a5f #0f4c3a #2d8659 #dc143c #2d1b47 This extraordinary palette brilliantly captures the unexpected marriage of warm passion and cool sophistication. The deep navy and forest tones create a sophisticated foundation that speaks of tradition and reliability, while the vibrant scarlet red adds an electrifying pop that commands attention. I love how the deep purple grounds the entire combination, preventing it from feeling too stark. This palette is perfect for brands that want to convey both trustworthiness and innovation – think luxury tech companies or premium financial services that need to stand out in conservative industries. The warm pop against the elegant backdrop creates visual tension that’s absolutely magnetic. 2. Emerald Shadow #0d3b2e #1a5f4a #2d8659 #4a7c59 #6b5b73 Pure luxury distilled into color form – this palette embodies everything I love about sophisticated emerald combinations. The progression from deep forest shadow through multiple shades of emerald creates incredible depth and richness, while the purple undertones add an unexpected twist that elevates the entire palette beyond typical green combinations. I find this particularly effective for high-end wellness brands, luxury hotels, or premium skincare lines where you want to convey both natural authenticity and refined elegance. The subtle variations in green create a sense of movement and life that feels both organic and carefully curated.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. 3. Sapphire Sunset #1a1b5e #003366 #008080 #ff6b47 #2f3e46 The magic of this palette lies in how it balances cool sophistication with warm energy. The deep sapphire blues create a foundation of trust and stability, while the vibrant coral accent brings warmth and approachability. The teal bridge between cool and warm creates a smooth transition that makes the entire combination feel harmonious rather than jarring. I often recommend this palette for luxury travel brands, premium outdoor gear, or innovative tech companies that want to feel both reliable and exciting. It’s sophisticated enough for corporate applications yet warm enough for consumer-facing brands. 4. Azure Majesty #003366 #004d7a #008080 #2e8b57 #1e4d72 Classic luxury redefined – this palette speaks the language of traditional elegance with a contemporary voice. The progression through various blues and blue-greens creates a sense of depth and movement that reminds me of looking into clear ocean waters. Each shade builds upon the last, creating a sophisticated gradient that feels both timeless and fresh. I love using this combination for established luxury brands that want to maintain their heritage while appealing to modern consumers. It works beautifully for high-end jewelry, premium spirits, or luxury automotive brands where tradition and innovation need to coexist seamlessly. 5. Copper Flame #722f37 #003366 #008b8b #cd853f #483d8b This palette brings together richness and warmth in the most compelling way. The deep burgundy and navy create a sophisticated backdrop, while the copper accent adds warmth and luxury that prevents the palette from feeling too cold or corporate. The purple undertones add depth and mystery that makes the entire combination feel more complex and interesting. I find this particularly effective for premium spirits, luxury dining establishments, or high-end home goods where you want to create an atmosphere of warmth and sophistication. The copper element adds an artisanal quality that speaks to craftsmanship and attention to detail. 6. Vintage Velvet #4b0f3b #6b1f5e #8b4d7a #5d4e75 #2f3e46 Pure luxury in its most refined form – this palette captures the opulent feel of vintage velvet fabrics and antique jewelry. The progression through various purples and plums creates incredible richness and depth, while the darker tones add mystery and sophistication. There’s something almost tactile about this color combination that makes you want to reach out and touch it. I love using this palette for high-end fashion brands, luxury beauty products, or premium interior design where you want to convey both heritage and contemporary luxury. The monochromatic approach creates unity while the varied tones prevent monotony. 7. Ruby Fire #2d1b47 #0f3b2e #1e6b52 #e74c3c #4a2c5e Bold and dramatic, this palette commands attention while maintaining sophistication. The deep purple and forest tones create a rich foundation, while the ruby red accent brings passion and energy that’s impossible to ignore. I love how the darker tones ground the vibrant red, preventing it from feeling too aggressive or overwhelming. This combination works beautifully for luxury fashion brands, premium automotive, or high-end cosmetics where you want to convey both sophistication and passion. The dramatic contrast creates visual impact that’s perfect for brands that need to stand out in crowded markets. 8. Royal Midnight #1a1b5e #2e2d7d #4a4d8a #6b4e79 #8b3a62 This palette captures the sophisticated fun of evening elegance with a contemporary twist. The progression through various purples and blues creates a sense of movement and depth that feels both playful and refined. There’s something about this combination that reminds me of twilight in a royal garden – mysterious, beautiful, and slightly magical. I find this palette particularly effective for luxury entertainment brands, premium lifestyle products, or innovative beauty companies that want to feel both sophisticated and approachable. The subtle variations create visual interest without overwhelming the senses. 9. Sunset Jewels #4b0f3b #074e67 #2e8b57 #d4542a #1e4d72 This palette achieves the perfect balance between warm energy and cool sophistication. The deep purple and navy create a rich foundation, while the emerald green adds freshness and the coral accent brings warmth and vibrancy. I love how each color complements the others while maintaining its own distinct personality. This combination works beautifully for brands that want to feel both innovative and trustworthy – think premium outdoor gear, luxury travel companies, or high-end wellness brands. The warm pop prevents the palette from feeling too serious while the sophisticated base keeps it professional. 10. Emerald Garden #0f4c3a #1e6b52 #2d8b67 #4d7c5e #6b5d73 Fresh luxury with a natural sophistication – this palette captures the beauty of an emerald garden in the golden hour. The progression through various greens creates incredible depth and richness, while the purple undertones add complexity and prevent the palette from feeling too simple. There’s something both grounding and uplifting about this combination that makes it perfect for brands focused on wellness, sustainability, or natural luxury. I often recommend this palette for premium organic brands, luxury spa treatments, or high-end gardening products where you want to convey both natural authenticity and refined quality. Why Jewel Tones Are Perfect for Modern Design The enduring appeal of jewel tones lies in their ability to convey luxury without appearing ostentatious. Unlike bright neons or muted pastels, jewel tones possess a natural richness that feels both timeless and contemporary. These colors have depth and complexity that photographs beautifully and translates well across different media. As someone who’s worked with countless color palettes over the years, I’ve noticed that jewel tones have a unique ability to make any design feel more premium. They suggest quality, craftsmanship, and attention to detail – qualities that resonate strongly with today’s consumers who value authenticity and excellence. The psychological impact of these colors is also significant. Deep blues convey trust and stability, rich purples suggest creativity and luxury, emerald greens evoke growth and prosperity, while ruby reds communicate passion and energy. When used thoughtfully, jewel tones can help communicate your brand values without saying a word. Mastering Jewel Tones in Contemporary Design Working with jewel tones requires a different approach than using brighter or more muted colors. Here’s what I’ve learned from years of incorporating these rich hues into modern design projects: Create Stunning Contrast Jewel tones look absolutely spectacular when paired with crisp whites or deep blacks. This contrast prevents the richness from becoming overwhelming while allowing the colors to truly shine. I often use white space generously when working with these palettes to give each color room to breathe. Mix Textures and Finishes These colors lend themselves beautifully to different textures and finishes. Consider how emerald green might look with a matte finish versus a glossy one, or how sapphire blue appears on silk versus canvas. The interplay between color and texture can dramatically enhance the luxurious feel of your design. Layer Different Jewel Tones Don’t be afraid to combine different jewel tones within a single design. Emerald and sapphire work beautifully together, as do amethyst and garnet. The key is to vary the saturation levels and use one color as the dominant hue while others serve as accents. Consider the Context While jewel tones are inherently luxurious, they can be adapted to different contexts. A tech startup might use jewel tones in a more minimalist way, while a luxury hotel could embrace their full opulence. Understanding your audience and context will guide how boldly you use these colors. The Psychology Behind Our Love for Jewel Tones Understanding why we’re drawn to jewel tones can help us use them more effectively in our designs. These colors tap into several psychological triggers that make them particularly appealing: The connection to precious stones immediately suggests value and rarity. Throughout history, these gemstone colors have been associated with wealth, power, and status. When we see these hues, we unconsciously associate them with quality and luxury. There’s also something deeply satisfying about the richness and depth of jewel tones. Unlike flat, single-note colors, jewel tones have complexity – they seem to contain multiple hues within themselves, creating visual interest that holds our attention. From a cultural perspective, many jewel tones have positive associations across different societies. Deep blues are almost universally associated with trust and stability, while rich greens connect us to nature and growth. These universal positive associations make jewel tones safe choices for international brands. Jewel Tones Across Different Design Disciplines The versatility of jewel tone palettes makes them suitable for virtually any design application, though each field has its own considerations: Luxury Branding For high-end brands, jewel tones are almost a requirement. They instantly communicate quality and exclusivity. I’ve found that using jewel tones in logo design, particularly when combined with elegant typography and plenty of white space, creates an immediate impression of sophistication. The key is restraint – let the richness of the colors speak for themselves rather than overwhelming the design with too many elements. Interior Design Magic In interior spaces, jewel tones can create incredibly dramatic and luxurious environments. An accent wall in deep emerald or sapphire can transform an entire room, while jewel-toned accessories add richness without commitment. I love seeing how these colors interact with different lighting throughout the day, revealing new depths and nuances. Digital Design Excellence For web and app design, jewel tones can create memorable user experiences. Using these colors for call-to-action buttons or important interface elements draws attention while maintaining sophistication. However, accessibility is crucial – ensure sufficient contrast ratios when using darker jewel tones for text or interface elements. Fashion and Product Design The fashion industry has long embraced jewel tones for their ability to flatter virtually every skin tone while conveying luxury. In product design, these colors can transform everyday objects into premium items. Think about how a deep sapphire blue phone case feels more expensive than a bright plastic one. Seasonal Considerations for Jewel Tones While jewel tones are timeless, they do have seasonal nuances that smart designers can leverage. The deeper, richer tones like garnet and emerald feel naturally autumnal and can create cozy, intimate atmospheres perfect for fall and winter projects. Lighter jewel tones, particularly those with blue and green undertones, can work beautifully for spring and summer projects when paired with crisp whites and metallics. The key is adjusting the saturation and supporting colors to match the seasonal mood you’re trying to create. The Future of Jewel Tone Design As we move forward in 2025, I see jewel tones becoming even more important in design. In an increasingly digital world, these rich, tactile colors help create emotional connections that transcend screens. They remind us of the physical world of precious stones and natural beauty. The sustainability movement has also increased appreciation for colors that feel timeless rather than trendy. Jewel tones don’t go out of style the way seasonal color trends do, making them smart long-term choices for brands and spaces. Bringing Jewel Tone Magic to Your Projects Working with jewel tone palettes has taught me that luxury isn’t about using the most expensive materials or the most complex designs. Sometimes, it’s simply about choosing colors that inherently communicate quality and sophistication. Whether you’re designing a tech startup’s brand identity or planning a luxury hotel’s interior, jewel tones offer a shortcut to elegance that few other color families can match. The key is understanding the unique properties of each hue and using them with intention and restraint. Remember that these colors have centuries of cultural associations behind them. When you choose emerald green, you’re not just picking a color – you’re tapping into associations with growth, prosperity, and natural beauty. When you select sapphire blue, you’re communicating trust, stability, and depth. The most successful jewel tone designs are those that respect the inherent power of these colors while adapting them to contemporary contexts. Don’t be afraid to experiment, but always keep in mind the sophisticated legacy these hues carry. So embrace the richness, dive into the depth, and let jewel tones transform your next design project. In a world full of fleeting trends, these timeless colors offer something rare: instant, enduring elegance that never goes out of style. Zoe Santoro Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way. These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...7 Best 50s Color Palettes that are “The Cat’s Pajamas”When I look for inspiration that balances nostalgia with timeless appeal, I always find myself drawn to the refined elegance...What Colors Make Blue?Blue is more than just a color—it’s an experience. When we encounter blue, we’re drawn to its tranquil beauty, finding... #luxurious #jewel #tone #color #palettes

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10 Luxurious Jewel Tone Color Palettes
10 Luxurious Jewel Tone Color Palettes In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.As a designer who’s always searching for color combinations that exude sophistication and richness, I find myself constantly returning to jewel tones. These deep, saturated hues possess an inherent elegance that can instantly elevate any design project. Named after precious gemstones, jewel tones bring a sense of luxury and depth that’s simply unmatched by other color families. Whether you’re working on a high-end brand identity, designing an opulent interior space, or creating packaging that needs to convey premium quality, jewel tone palettes offer the perfect solution. I’ve curated ten stunning jewel tone color combinations that will add instant glamour and sophistication to your work. 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just $16.95/mo? Learn more »10 Rich Jewel Tone Color Palettes 1. Scarlet Sapphire #1e3a5f #0f4c3a #2d8659 #dc143c #2d1b47 This extraordinary palette brilliantly captures the unexpected marriage of warm passion and cool sophistication. The deep navy and forest tones create a sophisticated foundation that speaks of tradition and reliability, while the vibrant scarlet red adds an electrifying pop that commands attention. I love how the deep purple grounds the entire combination, preventing it from feeling too stark. This palette is perfect for brands that want to convey both trustworthiness and innovation – think luxury tech companies or premium financial services that need to stand out in conservative industries. The warm pop against the elegant backdrop creates visual tension that’s absolutely magnetic. 2. Emerald Shadow #0d3b2e #1a5f4a #2d8659 #4a7c59 #6b5b73 Pure luxury distilled into color form – this palette embodies everything I love about sophisticated emerald combinations. The progression from deep forest shadow through multiple shades of emerald creates incredible depth and richness, while the purple undertones add an unexpected twist that elevates the entire palette beyond typical green combinations. I find this particularly effective for high-end wellness brands, luxury hotels, or premium skincare lines where you want to convey both natural authenticity and refined elegance. The subtle variations in green create a sense of movement and life that feels both organic and carefully curated.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. 3. Sapphire Sunset #1a1b5e #003366 #008080 #ff6b47 #2f3e46 The magic of this palette lies in how it balances cool sophistication with warm energy. The deep sapphire blues create a foundation of trust and stability, while the vibrant coral accent brings warmth and approachability. The teal bridge between cool and warm creates a smooth transition that makes the entire combination feel harmonious rather than jarring. I often recommend this palette for luxury travel brands, premium outdoor gear, or innovative tech companies that want to feel both reliable and exciting. It’s sophisticated enough for corporate applications yet warm enough for consumer-facing brands. 4. Azure Majesty #003366 #004d7a #008080 #2e8b57 #1e4d72 Classic luxury redefined – this palette speaks the language of traditional elegance with a contemporary voice. The progression through various blues and blue-greens creates a sense of depth and movement that reminds me of looking into clear ocean waters. Each shade builds upon the last, creating a sophisticated gradient that feels both timeless and fresh. I love using this combination for established luxury brands that want to maintain their heritage while appealing to modern consumers. It works beautifully for high-end jewelry, premium spirits, or luxury automotive brands where tradition and innovation need to coexist seamlessly. 5. Copper Flame #722f37 #003366 #008b8b #cd853f #483d8b This palette brings together richness and warmth in the most compelling way. The deep burgundy and navy create a sophisticated backdrop, while the copper accent adds warmth and luxury that prevents the palette from feeling too cold or corporate. The purple undertones add depth and mystery that makes the entire combination feel more complex and interesting. I find this particularly effective for premium spirits, luxury dining establishments, or high-end home goods where you want to create an atmosphere of warmth and sophistication. The copper element adds an artisanal quality that speaks to craftsmanship and attention to detail. 6. Vintage Velvet #4b0f3b #6b1f5e #8b4d7a #5d4e75 #2f3e46 Pure luxury in its most refined form – this palette captures the opulent feel of vintage velvet fabrics and antique jewelry. The progression through various purples and plums creates incredible richness and depth, while the darker tones add mystery and sophistication. There’s something almost tactile about this color combination that makes you want to reach out and touch it. I love using this palette for high-end fashion brands, luxury beauty products, or premium interior design where you want to convey both heritage and contemporary luxury. The monochromatic approach creates unity while the varied tones prevent monotony. 7. Ruby Fire #2d1b47 #0f3b2e #1e6b52 #e74c3c #4a2c5e Bold and dramatic, this palette commands attention while maintaining sophistication. The deep purple and forest tones create a rich foundation, while the ruby red accent brings passion and energy that’s impossible to ignore. I love how the darker tones ground the vibrant red, preventing it from feeling too aggressive or overwhelming. This combination works beautifully for luxury fashion brands, premium automotive, or high-end cosmetics where you want to convey both sophistication and passion. The dramatic contrast creates visual impact that’s perfect for brands that need to stand out in crowded markets. 8. Royal Midnight #1a1b5e #2e2d7d #4a4d8a #6b4e79 #8b3a62 This palette captures the sophisticated fun of evening elegance with a contemporary twist. The progression through various purples and blues creates a sense of movement and depth that feels both playful and refined. There’s something about this combination that reminds me of twilight in a royal garden – mysterious, beautiful, and slightly magical. I find this palette particularly effective for luxury entertainment brands, premium lifestyle products, or innovative beauty companies that want to feel both sophisticated and approachable. The subtle variations create visual interest without overwhelming the senses. 9. Sunset Jewels #4b0f3b #074e67 #2e8b57 #d4542a #1e4d72 This palette achieves the perfect balance between warm energy and cool sophistication. The deep purple and navy create a rich foundation, while the emerald green adds freshness and the coral accent brings warmth and vibrancy. I love how each color complements the others while maintaining its own distinct personality. This combination works beautifully for brands that want to feel both innovative and trustworthy – think premium outdoor gear, luxury travel companies, or high-end wellness brands. The warm pop prevents the palette from feeling too serious while the sophisticated base keeps it professional. 10. Emerald Garden #0f4c3a #1e6b52 #2d8b67 #4d7c5e #6b5d73 Fresh luxury with a natural sophistication – this palette captures the beauty of an emerald garden in the golden hour. The progression through various greens creates incredible depth and richness, while the purple undertones add complexity and prevent the palette from feeling too simple. There’s something both grounding and uplifting about this combination that makes it perfect for brands focused on wellness, sustainability, or natural luxury. I often recommend this palette for premium organic brands, luxury spa treatments, or high-end gardening products where you want to convey both natural authenticity and refined quality. Why Jewel Tones Are Perfect for Modern Design The enduring appeal of jewel tones lies in their ability to convey luxury without appearing ostentatious. Unlike bright neons or muted pastels, jewel tones possess a natural richness that feels both timeless and contemporary. These colors have depth and complexity that photographs beautifully and translates well across different media. As someone who’s worked with countless color palettes over the years, I’ve noticed that jewel tones have a unique ability to make any design feel more premium. They suggest quality, craftsmanship, and attention to detail – qualities that resonate strongly with today’s consumers who value authenticity and excellence. The psychological impact of these colors is also significant. Deep blues convey trust and stability, rich purples suggest creativity and luxury, emerald greens evoke growth and prosperity, while ruby reds communicate passion and energy. When used thoughtfully, jewel tones can help communicate your brand values without saying a word. Mastering Jewel Tones in Contemporary Design Working with jewel tones requires a different approach than using brighter or more muted colors. Here’s what I’ve learned from years of incorporating these rich hues into modern design projects: Create Stunning Contrast Jewel tones look absolutely spectacular when paired with crisp whites or deep blacks. This contrast prevents the richness from becoming overwhelming while allowing the colors to truly shine. I often use white space generously when working with these palettes to give each color room to breathe. Mix Textures and Finishes These colors lend themselves beautifully to different textures and finishes. Consider how emerald green might look with a matte finish versus a glossy one, or how sapphire blue appears on silk versus canvas. The interplay between color and texture can dramatically enhance the luxurious feel of your design. Layer Different Jewel Tones Don’t be afraid to combine different jewel tones within a single design. Emerald and sapphire work beautifully together, as do amethyst and garnet. The key is to vary the saturation levels and use one color as the dominant hue while others serve as accents. Consider the Context While jewel tones are inherently luxurious, they can be adapted to different contexts. A tech startup might use jewel tones in a more minimalist way, while a luxury hotel could embrace their full opulence. Understanding your audience and context will guide how boldly you use these colors. The Psychology Behind Our Love for Jewel Tones Understanding why we’re drawn to jewel tones can help us use them more effectively in our designs. These colors tap into several psychological triggers that make them particularly appealing: The connection to precious stones immediately suggests value and rarity. Throughout history, these gemstone colors have been associated with wealth, power, and status. When we see these hues, we unconsciously associate them with quality and luxury. There’s also something deeply satisfying about the richness and depth of jewel tones. Unlike flat, single-note colors, jewel tones have complexity – they seem to contain multiple hues within themselves, creating visual interest that holds our attention. From a cultural perspective, many jewel tones have positive associations across different societies. Deep blues are almost universally associated with trust and stability, while rich greens connect us to nature and growth. These universal positive associations make jewel tones safe choices for international brands. Jewel Tones Across Different Design Disciplines The versatility of jewel tone palettes makes them suitable for virtually any design application, though each field has its own considerations: Luxury Branding For high-end brands, jewel tones are almost a requirement. They instantly communicate quality and exclusivity. I’ve found that using jewel tones in logo design, particularly when combined with elegant typography and plenty of white space, creates an immediate impression of sophistication. The key is restraint – let the richness of the colors speak for themselves rather than overwhelming the design with too many elements. Interior Design Magic In interior spaces, jewel tones can create incredibly dramatic and luxurious environments. An accent wall in deep emerald or sapphire can transform an entire room, while jewel-toned accessories add richness without commitment. I love seeing how these colors interact with different lighting throughout the day, revealing new depths and nuances. Digital Design Excellence For web and app design, jewel tones can create memorable user experiences. Using these colors for call-to-action buttons or important interface elements draws attention while maintaining sophistication. However, accessibility is crucial – ensure sufficient contrast ratios when using darker jewel tones for text or interface elements. Fashion and Product Design The fashion industry has long embraced jewel tones for their ability to flatter virtually every skin tone while conveying luxury. In product design, these colors can transform everyday objects into premium items. Think about how a deep sapphire blue phone case feels more expensive than a bright plastic one. Seasonal Considerations for Jewel Tones While jewel tones are timeless, they do have seasonal nuances that smart designers can leverage. The deeper, richer tones like garnet and emerald feel naturally autumnal and can create cozy, intimate atmospheres perfect for fall and winter projects. Lighter jewel tones, particularly those with blue and green undertones, can work beautifully for spring and summer projects when paired with crisp whites and metallics. The key is adjusting the saturation and supporting colors to match the seasonal mood you’re trying to create. The Future of Jewel Tone Design As we move forward in 2025, I see jewel tones becoming even more important in design. In an increasingly digital world, these rich, tactile colors help create emotional connections that transcend screens. They remind us of the physical world of precious stones and natural beauty. The sustainability movement has also increased appreciation for colors that feel timeless rather than trendy. Jewel tones don’t go out of style the way seasonal color trends do, making them smart long-term choices for brands and spaces. Bringing Jewel Tone Magic to Your Projects Working with jewel tone palettes has taught me that luxury isn’t about using the most expensive materials or the most complex designs. Sometimes, it’s simply about choosing colors that inherently communicate quality and sophistication. Whether you’re designing a tech startup’s brand identity or planning a luxury hotel’s interior, jewel tones offer a shortcut to elegance that few other color families can match. The key is understanding the unique properties of each hue and using them with intention and restraint. Remember that these colors have centuries of cultural associations behind them. When you choose emerald green, you’re not just picking a color – you’re tapping into associations with growth, prosperity, and natural beauty. When you select sapphire blue, you’re communicating trust, stability, and depth. The most successful jewel tone designs are those that respect the inherent power of these colors while adapting them to contemporary contexts. Don’t be afraid to experiment, but always keep in mind the sophisticated legacy these hues carry. So embrace the richness, dive into the depth, and let jewel tones transform your next design project. In a world full of fleeting trends, these timeless colors offer something rare: instant, enduring elegance that never goes out of style. Zoe Santoro Zoe is an art student and graphic designer with a passion for creativity and adventure. Whether she’s sketching in a cozy café or capturing inspiration from vibrant cityscapes, she finds beauty in every corner of the world. With a love for bold colors, clean design, and storytelling through visuals, Zoe blends her artistic skills with her wanderlust to create stunning, travel-inspired designs. Follow her journey as she explores new places, discovers fresh inspiration, and shares her creative process along the way. These 1920s Color Palettes are ‘Greater than Gatsby’There’s something undeniably captivating about the color schemes of the Roaring Twenties. As a designer with a passion for historical...7 Best 50s Color Palettes that are “The Cat’s Pajamas”When I look for inspiration that balances nostalgia with timeless appeal, I always find myself drawn to the refined elegance...What Colors Make Blue? (Well…it’s complicated.)Blue is more than just a color—it’s an experience. When we encounter blue, we’re drawn to its tranquil beauty, finding...

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2025-05-23 00:07:28 -

design/leader: Beardwood&Co. founder Julia Beardwood

22 May, 2025

In our weekly interview series, design leaders answer five questions about design, and five questions about leadership.

Julia Beardwood is founder of Beardwood&Co. The New York-based branding and strategy agency works with B2C and B2B clients like Danone, Pottery Barn and Rabble Wine.
Design
What would your monograph be called?
Illuminating Possibilities. Everything we do is about helping clients see opportunities that aren’t obvious.
Whether that’s a new take on their category, bringing an unusual perspective informed by experience and insights we’ve uncovered in completely different fields, or a big creative idea with legs to run on for years.
What recent design work made you a bit jealous?
The Brooklyn Museum identity by Other Means and Brooklyn Museum design team.
The interlocking of the double O’s in Brooklyn and two dots bookending the logo together create a distinctive word mark that feels a bit quirky, yet rooted in a rich history, like the borough itself.
What impresses me most is the thoroughness of the brand experience, from the t-shirts the staff proudly wear to the exhibit communications.
They completely nailed the strategy, which is to be a modern, multi-faceted and thoroughly engaging museum that serves the diverse community of Brooklyn, and attracts visitors from all over the city and the world.
The new Brooklyn Museum logo by Other Means and the in-house team
What’s an unusual place you get inspiration from?
Riding on any kind of public transport gets my mind whirring. It doesn’t matter if it’s a bus, tube, train or ferry.
From the incredible variety of people and pets, funny and tawdry ads, to the surprising scenes I see out the window, I find stimulation in observing daily life. It’s a mental game to brainstorm for projects based on what you’re seeing and hearing.
Name something that is brilliantly designed, but overlooked.
Paper clips – so useful, so simple, so elegant! It’s a miniature work of art that does its job perfectly.
I keep a few in my pocket at all times because they’re so multi-purpose, like when I need to pop open my iPhone sim card.
What object in your studio best sums up your taste?
This wooden owl – designed and made in the UK by Matt Pugh – is our gift for team members on their fifth anniversary with us.
Carved from sustainably sourced oak with a painted head, it’s sleek and simple, and a symbol of the uncommon wisdom we seek to bring our clients. It brings me immense pleasure to share these beauts with our team.
The wooden owl given to Beardwood&Co staff on their fifth anniversary at the studio.
Leadership
What feedback felt brutal at the time, but turned out to be useful?
It came from a client who I had massive respect for. We’d just finished a major rebrand project and were feeling rightly proud. She said, “We’re thrilled with how this turned out, but the journey to get there was horrible.”
That made me realise that the client experience is equally as important as the design work.
Now we pay a lot of attention to ensure that every client feels welcomed and appreciated, that communication is crystal clear and transparent, that we are fully aligned, and that meetings are fun and inspiring. Every project should make our clients feel like it was a career highlight to brag about.
What’s an underappreciated skill that design leaders need?
Translating design into the language of business, so that the people who buy our work understand why it’s so valuable.
Designers are not taught this in school, so it’s a skill they often learn on the job. It’s a reason why some of the strongest design leaders have gone to business school.
Language matters – you don’t want design to sound esoteric or mysterious. You need your clients to understand it’s all about building brand equity, creating irresistible desire to attract new customers, and instilling insatiable loyalty among your biggest fans.
What keeps you up at night?
How to ensure AI is serving humanity and not the other way around. It’s a moment for immense change as big as the introduction of the internet.
Uncertainty creates anxiety, but also opportunity. We’re all exploring and experimenting to figure out the best uses for AI, and so far, it’s super-helpful.
But we know clients expect to reap cost savings from their agencies. You just have to keep demonstrating value and how to use AI to bring efficiency.
What trait is non-negotiable in new hires?
Telling us what they think.
Speaking up with fresh ideas to make us and our clients better. Being brave enough to call out group think. Every individual hire that joins us has the power to change and improve our firm.
Silence is not golden – we want and need to hear strong opinions.
Complete this sentence, “I wish more clients…”
…asked more questions.
Clients often feel like they need to know it all, so they don’t ask as many questions as they should because it makes them feel vulnerable to criticism.
In my experience, when clients are brave enough to ask more questions, they feel empowered and equipped to make braver choices in the work.

Brands in this article

What to read next

design/leader: F37 founder Rick Banks

17 Apr, 2025

design/leader: Lucky Dip co-founder Katie Cadwell

17 Jan, 2025
#designleader #beardwoodampampco #founder #julia #beardwood

design/leader: Beardwood&Co. founder Julia Beardwood
22 May, 2025 In our weekly interview series, design leaders answer five questions about design, and five questions about leadership. Julia Beardwood is founder of Beardwood&Co. The New York-based branding and strategy agency works with B2C and B2B clients like Danone, Pottery Barn and Rabble Wine. Design What would your monograph be called? Illuminating Possibilities. Everything we do is about helping clients see opportunities that aren’t obvious. Whether that’s a new take on their category, bringing an unusual perspective informed by experience and insights we’ve uncovered in completely different fields, or a big creative idea with legs to run on for years. What recent design work made you a bit jealous? The Brooklyn Museum identity by Other Means and Brooklyn Museum design team. The interlocking of the double O’s in Brooklyn and two dots bookending the logo together create a distinctive word mark that feels a bit quirky, yet rooted in a rich history, like the borough itself. What impresses me most is the thoroughness of the brand experience, from the t-shirts the staff proudly wear to the exhibit communications. They completely nailed the strategy, which is to be a modern, multi-faceted and thoroughly engaging museum that serves the diverse community of Brooklyn, and attracts visitors from all over the city and the world. The new Brooklyn Museum logo by Other Means and the in-house team What’s an unusual place you get inspiration from? Riding on any kind of public transport gets my mind whirring. It doesn’t matter if it’s a bus, tube, train or ferry. From the incredible variety of people and pets, funny and tawdry ads, to the surprising scenes I see out the window, I find stimulation in observing daily life. It’s a mental game to brainstorm for projects based on what you’re seeing and hearing. Name something that is brilliantly designed, but overlooked. Paper clips – so useful, so simple, so elegant! It’s a miniature work of art that does its job perfectly. I keep a few in my pocket at all times because they’re so multi-purpose, like when I need to pop open my iPhone sim card. What object in your studio best sums up your taste? This wooden owl – designed and made in the UK by Matt Pugh – is our gift for team members on their fifth anniversary with us. Carved from sustainably sourced oak with a painted head, it’s sleek and simple, and a symbol of the uncommon wisdom we seek to bring our clients. It brings me immense pleasure to share these beauts with our team. The wooden owl given to Beardwood&Co staff on their fifth anniversary at the studio. Leadership What feedback felt brutal at the time, but turned out to be useful? It came from a client who I had massive respect for. We’d just finished a major rebrand project and were feeling rightly proud. She said, “We’re thrilled with how this turned out, but the journey to get there was horrible.” That made me realise that the client experience is equally as important as the design work. Now we pay a lot of attention to ensure that every client feels welcomed and appreciated, that communication is crystal clear and transparent, that we are fully aligned, and that meetings are fun and inspiring. Every project should make our clients feel like it was a career highlight to brag about. What’s an underappreciated skill that design leaders need? Translating design into the language of business, so that the people who buy our work understand why it’s so valuable. Designers are not taught this in school, so it’s a skill they often learn on the job. It’s a reason why some of the strongest design leaders have gone to business school. Language matters – you don’t want design to sound esoteric or mysterious. You need your clients to understand it’s all about building brand equity, creating irresistible desire to attract new customers, and instilling insatiable loyalty among your biggest fans. What keeps you up at night? How to ensure AI is serving humanity and not the other way around. It’s a moment for immense change as big as the introduction of the internet. Uncertainty creates anxiety, but also opportunity. We’re all exploring and experimenting to figure out the best uses for AI, and so far, it’s super-helpful. But we know clients expect to reap cost savings from their agencies. You just have to keep demonstrating value and how to use AI to bring efficiency. What trait is non-negotiable in new hires? Telling us what they think. Speaking up with fresh ideas to make us and our clients better. Being brave enough to call out group think. Every individual hire that joins us has the power to change and improve our firm. Silence is not golden – we want and need to hear strong opinions. Complete this sentence, “I wish more clients…” …asked more questions. Clients often feel like they need to know it all, so they don’t ask as many questions as they should because it makes them feel vulnerable to criticism. In my experience, when clients are brave enough to ask more questions, they feel empowered and equipped to make braver choices in the work. Brands in this article What to read next design/leader: F37 founder Rick Banks 17 Apr, 2025 design/leader: Lucky Dip co-founder Katie Cadwell 17 Jan, 2025 #designleader #beardwoodampampco #founder #julia #beardwood

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design/leader: Beardwood&Co. founder Julia Beardwood
22 May, 2025 In our weekly interview series, design leaders answer five questions about design, and five questions about leadership. Julia Beardwood is founder of Beardwood&Co. The New York-based branding and strategy agency works with B2C and B2B clients like Danone, Pottery Barn and Rabble Wine. Design What would your monograph be called? Illuminating Possibilities. Everything we do is about helping clients see opportunities that aren’t obvious. Whether that’s a new take on their category, bringing an unusual perspective informed by experience and insights we’ve uncovered in completely different fields, or a big creative idea with legs to run on for years. What recent design work made you a bit jealous? The Brooklyn Museum identity by Other Means and Brooklyn Museum design team. The interlocking of the double O’s in Brooklyn and two dots bookending the logo together create a distinctive word mark that feels a bit quirky, yet rooted in a rich history, like the borough itself. What impresses me most is the thoroughness of the brand experience, from the t-shirts the staff proudly wear to the exhibit communications. They completely nailed the strategy, which is to be a modern, multi-faceted and thoroughly engaging museum that serves the diverse community of Brooklyn, and attracts visitors from all over the city and the world. The new Brooklyn Museum logo by Other Means and the in-house team What’s an unusual place you get inspiration from? Riding on any kind of public transport gets my mind whirring. It doesn’t matter if it’s a bus, tube, train or ferry. From the incredible variety of people and pets, funny and tawdry ads, to the surprising scenes I see out the window, I find stimulation in observing daily life. It’s a mental game to brainstorm for projects based on what you’re seeing and hearing. Name something that is brilliantly designed, but overlooked. Paper clips – so useful, so simple, so elegant! It’s a miniature work of art that does its job perfectly. I keep a few in my pocket at all times because they’re so multi-purpose, like when I need to pop open my iPhone sim card. What object in your studio best sums up your taste? This wooden owl – designed and made in the UK by Matt Pugh – is our gift for team members on their fifth anniversary with us. Carved from sustainably sourced oak with a painted head, it’s sleek and simple, and a symbol of the uncommon wisdom we seek to bring our clients. It brings me immense pleasure to share these beauts with our team. The wooden owl given to Beardwood&Co staff on their fifth anniversary at the studio. Leadership What feedback felt brutal at the time, but turned out to be useful? It came from a client who I had massive respect for. We’d just finished a major rebrand project and were feeling rightly proud. She said, “We’re thrilled with how this turned out, but the journey to get there was horrible.” That made me realise that the client experience is equally as important as the design work. Now we pay a lot of attention to ensure that every client feels welcomed and appreciated, that communication is crystal clear and transparent, that we are fully aligned, and that meetings are fun and inspiring. Every project should make our clients feel like it was a career highlight to brag about. What’s an underappreciated skill that design leaders need? Translating design into the language of business, so that the people who buy our work understand why it’s so valuable. Designers are not taught this in school, so it’s a skill they often learn on the job. It’s a reason why some of the strongest design leaders have gone to business school. Language matters – you don’t want design to sound esoteric or mysterious. You need your clients to understand it’s all about building brand equity, creating irresistible desire to attract new customers, and instilling insatiable loyalty among your biggest fans. What keeps you up at night? How to ensure AI is serving humanity and not the other way around. It’s a moment for immense change as big as the introduction of the internet. Uncertainty creates anxiety, but also opportunity. We’re all exploring and experimenting to figure out the best uses for AI, and so far, it’s super-helpful. But we know clients expect to reap cost savings from their agencies. You just have to keep demonstrating value and how to use AI to bring efficiency. What trait is non-negotiable in new hires? Telling us what they think. Speaking up with fresh ideas to make us and our clients better. Being brave enough to call out group think. Every individual hire that joins us has the power to change and improve our firm. Silence is not golden – we want and need to hear strong opinions. Complete this sentence, “I wish more clients…” …asked more questions. Clients often feel like they need to know it all, so they don’t ask as many questions as they should because it makes them feel vulnerable to criticism. In my experience, when clients are brave enough to ask more questions, they feel empowered and equipped to make braver choices in the work. Brands in this article What to read next design/leader: F37 founder Rick Banks 17 Apr, 2025 design/leader: Lucky Dip co-founder Katie Cadwell 17 Jan, 2025

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2025-05-15 05:41:23 -

The Geospatial Capabilities of Microsoft Fabric and ESRI GeoAnalytics, Demonstrated

The saying goes that 80% of data collected, stored and maintained by governments can be associated with geographical locations. Although never empirically proven, it illustrates the importance of location within data. Ever growing data volumes put constraints on systems that handle geospatial data. Common Big Data compute engines, originally designed to scale for textual data, need adaptation to work efficiently with geospatial data — think of geographical indexes, partitioning, and operators. Here, I present and illustrate how to utilize the Microsoft Fabric Spark compute engine, with the natively integrated ESRI GeoAnalytics engine# for geospatial big data processing and analytics.

The optional GeoAnalytics capabilities within Fabric enable the processing and analytics of vector-type geospatial data, where vector-type geospatial data refers to points, lines, polygons. These capabilities include more than 150 spatial functions to create geometries, test, and select spatial relationships. As it extends Spark, the GeoAnalytics functions can be called when using Python, SQL, or Scala. These spatial operations apply automatically spatial indexing, making the Spark compute engine also efficient for this data. It can handle 10 extra common spatial data formats to load and save data spatial data, on top of the Spark natively supported data source formats. This blog post focuses on the scalable geospatial compute engines as has been introduced in my post about geospatial in the age of AI.

Demonstration explained

Here, I demonstrate some of these spatial capabilities by showing the data manipulation and analytics steps on a large dataset. By using several tiles covering point cloud data, an enormous dataset starts to form, while it still covers a relatively small area. The open Dutch AHN dataset, which is a national digital elevation and surface model, is currently in its fifth update cycle, and spans a period of nearly 30 years. Here, the data from the second, third, and forth acquisition is used, as these hold full national coverage, while the first version did not include a point cloud release.

Another Dutch open dataset, namely building data, the BAG, is used to illustrate spatial selection. The building dataset contains the footprint of the buildings as polygons. Currently, this dataset holds more than 11 million buildings. To test the spatial functions, I use only 4 AHN tiles per AHN version. Thus in this case, 12 tiles, each of 5 x 6.25 km. Totalling to more than 3.5 billion points within an area of 125 square kilometers. The chosen area covers the municipality of Loppersum, an area prone to land subsidence due to gas extraction.

The steps to take include the selection of buildings within the area of Loppersum, selecting the x,y,z-points from the roofs of the buildings. Then, we bring the 3 datasets into one dataframe and do an extra analysis with it. A spatial regression to predict the expected height of a building based on its height history as well as the history of the buildings in its direct surroundings. Not necessarily the best analysis to perform on this data to come to actual predictions* but it suits merely the purpose of demonstrating the spatial processing capabilities of Fabric’s ESRI GeoAnalytics. All the below code snippets are also available as notebooks on github.

Step 1: Read data

Spatial data can come in many different data formats; we conform to the geoparquet data format for further processing. The BAG building data, both the footprints as well as the accompanied municipality boundaries, come in geoparquet format already. The point cloud AHN data, version 2, 3 and 4, however, comes as LAZ file formats — a compressed industry standard format for point clouds. I have not found a Spark library to read LAZ, and created a txt file, separately, with the LAStools+ first.

# ESRI - FABRIC reference: /

# Import the required modules
import geoanalytics_fabric
from geoanalytics_fabric.sql import functions as ST
from geoanalytics_fabric import extensions

# Read ahn file from OneLake
# AHN lidar data source: /

ahn_csv_path = "Files/AHN lidar/AHN4_csv"
lidar_df = spark.read.options.csvlidar_df = lidar_df.selectExprlidar_df.printSchemalidar_df.showlidar_df.countThe above code snippet& provides the below results:

Now, with the spatial functions make_point and srid the x,y,z columns are transformed to a point geometry and set it to the specific Dutch coordinate system, see the below code snippet&:

# Create point geometry from x,y,z columns and set the spatial refrence system
lidar_df = lidar_df.select.alias)
lidar_df = lidar_df.withColumn)
lidar_df = lidar_df.select.alias)\
.withColumn)

lidar_df.printSchemalidar_df.showBuilding and municipality data can be read with the extended spark.read function for geoparquet, see the code snippet&:

# Read building polygon data
path_building = "Files/BAG NL/BAG_pand_202504.parquet"
df_buildings = spark.read.format.load# Read woonplaats datapath_woonplaats = "Files/BAG NL/BAG_woonplaats_202504.parquet"
df_woonplaats = spark.read.format.load# Filter the DataFrame where the "woonplaats" column contains the string "Loppersum"
df_loppersum = df_woonplaats.filter.contains)

Step 2: Make selections

In the accompanying notebooks, I read and write to geoparquet. To make sure the right data is read correctly as dataframes, see the following code snippet:

# Read building polygon data
path_building = "Files/BAG NL/BAG_pand_202504.parquet"
df_buildings = spark.read.format.load# Read woonplaats datapath_woonplaats = "Files/BAG NL/BAG_woonplaats_202504.parquet"
df_woonplaats = spark.read.format.load# Filter the DataFrame where the "woonplaats" column contains the string "Loppersum"
df_loppersum = df_woonplaats.filter.contains)

With all data in dataframes it becomes a simple step to do spatial selections. The following code snippet& shows how to select the buildings within the boundaries of the Loppersum municipality, and separately makes a selection of buildings that existed throughout the period. This resulted in 1196 buildings, out of the 2492 buildings currently.

# Clip the BAG buildings to the gemeente Loppersum boundary
df_buildings_roi = Clip.run# select only buildings older then AHN data= 2009)
# and with a status in usedf_buildings_roi_select = df_buildings_roi.where&)

The three AHN versions used, further named as T1, T2 and T3 respectively, are then clipped based on the selected building data. The AggregatePoints function can be utilized to calculate, in this case from the heightsome statistics, like the mean per roof, the standard deviation and the number of z-values it is based upon; see the code snippet:

# Select and aggregrate lidar points from buildings within ROI

df_ahn2_result = AggregatePoints\
.setPolygons\
.addSummaryField\
.addSummaryField\
.rundf_ahn3_result = AggregatePoints\
.setPolygons\
.addSummaryField\
.addSummaryField\
.rundf_ahn4_result = AggregatePoints\
.setPolygons\
.addSummaryField\
.addSummaryField\
.runStep 3: Aggregate and Regress

As the GeoAnalytics function Geographically Weighted Regressioncan only work on point data, from the building polygons their centroid is extracted with the centroid function. The 3 dataframes are joined to one, see also the notebook, and it is ready to perform the GWR function. In this instance, it predicts the height for T3based on local regression functions.

# Import the required modules
from geoanalytics_fabric.tools import GWR

# Run the GWR tool to predict AHN4height values for buildings at Loppersum
resultGWR = GWR\
.setExplanatoryVariables\
.setDependentVariable\
.setLocalWeightingScheme\
.setNumNeighbors\
.runIncludeDiagnosticsThe model diagnostics can be consulted for the predicted z value, in this case, the following results were generated. Note, again, that these results cannot be used for real world applications as the data and methodology might not best fit the purpose of subsidence modelling — it merely shows here Fabric GeoAnalytics functionality.

R20.994AdjR20.981AICc1509Sigma20.046EDoF378

Step 4: Visualize results

With the spatial function plot, results can be visualized as maps within the notebook — to be used only with the Python API in Spark. First, a visualization of all buildings within the municipality of Loppersum.

# visualize Loppersum buildings
df_buildings.st.plotHere is a visualization of the height difference between T3and T3 predicted.

# Vizualize difference of predicted height and actual measured height Loppersum area and buildings

axes = df_loppersum.st.plot, alpha=0)
axes.set, ylim=)
df_buildings.st.plot#, color='xkcd:sea blue'
df_with_difference.st.plotSummary

This blog post discusses the significance of geographical data. It highlights the challenges posed by increasing data volumes on Geospatial data systems and suggests that traditional big data engines must adapt to handle geospatial data efficiently. Here, an example is presented on how to use the Microsoft Fabric Spark compute engine and its integration with the ESRI GeoAnalytics engine for effective geospatial big data processing and analytics.

Opinions here are mine.

Footnotes

# in preview

* for modelling the land subsidence with much higher accuracy and temporal frequency other approaches and data can be utilized, such as with satellite InSAR methodology+ Lastools is used here separately, it would be fun to test the usage of Fabric User data functions, or to utilize an Azure Function for this purpose.

& code snippets here are set up for readability, not necessarily for efficiency. Multiple data processing steps could be chained.

References

GitHub repo with notebooks: delange/Fabric_GeoAnalytics

Microsoft Fabric: Microsoft Fabric documentation – Microsoft Fabric | Microsoft Learn

ESRI GeoAnalytics for Fabric: Overview | ArcGIS GeoAnalytics for Microsoft Fabric | ArcGIS Developers

AHN: Home | AHN

BAG: Over BAG – Basisregistratie Adressen en Gebouwen – Kadaster.nl zakelijk

Lastools: LAStools: converting, filtering, viewing, processing, and compressing LIDAR data in LAS and LAZ format

Surface and Object Motion Map: Bodemdalingskaart –

The post The Geospatial Capabilities of Microsoft Fabric and ESRI GeoAnalytics, Demonstrated appeared first on Towards Data Science.
#geospatial #capabilities #microsoft #fabric #esri

The Geospatial Capabilities of Microsoft Fabric and ESRI GeoAnalytics, Demonstrated
The saying goes that 80% of data collected, stored and maintained by governments can be associated with geographical locations. Although never empirically proven, it illustrates the importance of location within data. Ever growing data volumes put constraints on systems that handle geospatial data. Common Big Data compute engines, originally designed to scale for textual data, need adaptation to work efficiently with geospatial data — think of geographical indexes, partitioning, and operators. Here, I present and illustrate how to utilize the Microsoft Fabric Spark compute engine, with the natively integrated ESRI GeoAnalytics engine# for geospatial big data processing and analytics. The optional GeoAnalytics capabilities within Fabric enable the processing and analytics of vector-type geospatial data, where vector-type geospatial data refers to points, lines, polygons. These capabilities include more than 150 spatial functions to create geometries, test, and select spatial relationships. As it extends Spark, the GeoAnalytics functions can be called when using Python, SQL, or Scala. These spatial operations apply automatically spatial indexing, making the Spark compute engine also efficient for this data. It can handle 10 extra common spatial data formats to load and save data spatial data, on top of the Spark natively supported data source formats. This blog post focuses on the scalable geospatial compute engines as has been introduced in my post about geospatial in the age of AI. Demonstration explained Here, I demonstrate some of these spatial capabilities by showing the data manipulation and analytics steps on a large dataset. By using several tiles covering point cloud data, an enormous dataset starts to form, while it still covers a relatively small area. The open Dutch AHN dataset, which is a national digital elevation and surface model, is currently in its fifth update cycle, and spans a period of nearly 30 years. Here, the data from the second, third, and forth acquisition is used, as these hold full national coverage, while the first version did not include a point cloud release. Another Dutch open dataset, namely building data, the BAG, is used to illustrate spatial selection. The building dataset contains the footprint of the buildings as polygons. Currently, this dataset holds more than 11 million buildings. To test the spatial functions, I use only 4 AHN tiles per AHN version. Thus in this case, 12 tiles, each of 5 x 6.25 km. Totalling to more than 3.5 billion points within an area of 125 square kilometers. The chosen area covers the municipality of Loppersum, an area prone to land subsidence due to gas extraction. The steps to take include the selection of buildings within the area of Loppersum, selecting the x,y,z-points from the roofs of the buildings. Then, we bring the 3 datasets into one dataframe and do an extra analysis with it. A spatial regression to predict the expected height of a building based on its height history as well as the history of the buildings in its direct surroundings. Not necessarily the best analysis to perform on this data to come to actual predictions* but it suits merely the purpose of demonstrating the spatial processing capabilities of Fabric’s ESRI GeoAnalytics. All the below code snippets are also available as notebooks on github. Step 1: Read data Spatial data can come in many different data formats; we conform to the geoparquet data format for further processing. The BAG building data, both the footprints as well as the accompanied municipality boundaries, come in geoparquet format already. The point cloud AHN data, version 2, 3 and 4, however, comes as LAZ file formats — a compressed industry standard format for point clouds. I have not found a Spark library to read LAZ, and created a txt file, separately, with the LAStools+ first. # ESRI - FABRIC reference: / # Import the required modules import geoanalytics_fabric from geoanalytics_fabric.sql import functions as ST from geoanalytics_fabric import extensions # Read ahn file from OneLake # AHN lidar data source: / ahn_csv_path = "Files/AHN lidar/AHN4_csv" lidar_df = spark.read.options.csvlidar_df = lidar_df.selectExprlidar_df.printSchemalidar_df.showlidar_df.countThe above code snippet& provides the below results: Now, with the spatial functions make_point and srid the x,y,z columns are transformed to a point geometry and set it to the specific Dutch coordinate system, see the below code snippet&: # Create point geometry from x,y,z columns and set the spatial refrence system lidar_df = lidar_df.select.alias) lidar_df = lidar_df.withColumn) lidar_df = lidar_df.select.alias)\ .withColumn) lidar_df.printSchemalidar_df.showBuilding and municipality data can be read with the extended spark.read function for geoparquet, see the code snippet&: # Read building polygon data path_building = "Files/BAG NL/BAG_pand_202504.parquet" df_buildings = spark.read.format.load# Read woonplaats datapath_woonplaats = "Files/BAG NL/BAG_woonplaats_202504.parquet" df_woonplaats = spark.read.format.load# Filter the DataFrame where the "woonplaats" column contains the string "Loppersum" df_loppersum = df_woonplaats.filter.contains) Step 2: Make selections In the accompanying notebooks, I read and write to geoparquet. To make sure the right data is read correctly as dataframes, see the following code snippet: # Read building polygon data path_building = "Files/BAG NL/BAG_pand_202504.parquet" df_buildings = spark.read.format.load# Read woonplaats datapath_woonplaats = "Files/BAG NL/BAG_woonplaats_202504.parquet" df_woonplaats = spark.read.format.load# Filter the DataFrame where the "woonplaats" column contains the string "Loppersum" df_loppersum = df_woonplaats.filter.contains) With all data in dataframes it becomes a simple step to do spatial selections. The following code snippet& shows how to select the buildings within the boundaries of the Loppersum municipality, and separately makes a selection of buildings that existed throughout the period. This resulted in 1196 buildings, out of the 2492 buildings currently. # Clip the BAG buildings to the gemeente Loppersum boundary df_buildings_roi = Clip.run# select only buildings older then AHN data= 2009) # and with a status in usedf_buildings_roi_select = df_buildings_roi.where&) The three AHN versions used, further named as T1, T2 and T3 respectively, are then clipped based on the selected building data. The AggregatePoints function can be utilized to calculate, in this case from the heightsome statistics, like the mean per roof, the standard deviation and the number of z-values it is based upon; see the code snippet: # Select and aggregrate lidar points from buildings within ROI df_ahn2_result = AggregatePoints\ .setPolygons\ .addSummaryField\ .addSummaryField\ .rundf_ahn3_result = AggregatePoints\ .setPolygons\ .addSummaryField\ .addSummaryField\ .rundf_ahn4_result = AggregatePoints\ .setPolygons\ .addSummaryField\ .addSummaryField\ .runStep 3: Aggregate and Regress As the GeoAnalytics function Geographically Weighted Regressioncan only work on point data, from the building polygons their centroid is extracted with the centroid function. The 3 dataframes are joined to one, see also the notebook, and it is ready to perform the GWR function. In this instance, it predicts the height for T3based on local regression functions. # Import the required modules from geoanalytics_fabric.tools import GWR # Run the GWR tool to predict AHN4height values for buildings at Loppersum resultGWR = GWR\ .setExplanatoryVariables\ .setDependentVariable\ .setLocalWeightingScheme\ .setNumNeighbors\ .runIncludeDiagnosticsThe model diagnostics can be consulted for the predicted z value, in this case, the following results were generated. Note, again, that these results cannot be used for real world applications as the data and methodology might not best fit the purpose of subsidence modelling — it merely shows here Fabric GeoAnalytics functionality. R20.994AdjR20.981AICc1509Sigma20.046EDoF378 Step 4: Visualize results With the spatial function plot, results can be visualized as maps within the notebook — to be used only with the Python API in Spark. First, a visualization of all buildings within the municipality of Loppersum. # visualize Loppersum buildings df_buildings.st.plotHere is a visualization of the height difference between T3and T3 predicted. # Vizualize difference of predicted height and actual measured height Loppersum area and buildings axes = df_loppersum.st.plot, alpha=0) axes.set, ylim=) df_buildings.st.plot#, color='xkcd:sea blue' df_with_difference.st.plotSummary This blog post discusses the significance of geographical data. It highlights the challenges posed by increasing data volumes on Geospatial data systems and suggests that traditional big data engines must adapt to handle geospatial data efficiently. Here, an example is presented on how to use the Microsoft Fabric Spark compute engine and its integration with the ESRI GeoAnalytics engine for effective geospatial big data processing and analytics. Opinions here are mine. Footnotes # in preview * for modelling the land subsidence with much higher accuracy and temporal frequency other approaches and data can be utilized, such as with satellite InSAR methodology+ Lastools is used here separately, it would be fun to test the usage of Fabric User data functions, or to utilize an Azure Function for this purpose. & code snippets here are set up for readability, not necessarily for efficiency. Multiple data processing steps could be chained. References GitHub repo with notebooks: delange/Fabric_GeoAnalytics Microsoft Fabric: Microsoft Fabric documentation – Microsoft Fabric | Microsoft Learn ESRI GeoAnalytics for Fabric: Overview | ArcGIS GeoAnalytics for Microsoft Fabric | ArcGIS Developers AHN: Home | AHN BAG: Over BAG – Basisregistratie Adressen en Gebouwen – Kadaster.nl zakelijk Lastools: LAStools: converting, filtering, viewing, processing, and compressing LIDAR data in LAS and LAZ format Surface and Object Motion Map: Bodemdalingskaart – The post The Geospatial Capabilities of Microsoft Fabric and ESRI GeoAnalytics, Demonstrated appeared first on Towards Data Science. #geospatial #capabilities #microsoft #fabric #esri

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The Geospatial Capabilities of Microsoft Fabric and ESRI GeoAnalytics, Demonstrated
The saying goes that 80% of data collected, stored and maintained by governments can be associated with geographical locations. Although never empirically proven, it illustrates the importance of location within data. Ever growing data volumes put constraints on systems that handle geospatial data. Common Big Data compute engines, originally designed to scale for textual data, need adaptation to work efficiently with geospatial data — think of geographical indexes, partitioning, and operators. Here, I present and illustrate how to utilize the Microsoft Fabric Spark compute engine, with the natively integrated ESRI GeoAnalytics engine# for geospatial big data processing and analytics. The optional GeoAnalytics capabilities within Fabric enable the processing and analytics of vector-type geospatial data, where vector-type geospatial data refers to points, lines, polygons. These capabilities include more than 150 spatial functions to create geometries, test, and select spatial relationships. As it extends Spark, the GeoAnalytics functions can be called when using Python, SQL, or Scala. These spatial operations apply automatically spatial indexing, making the Spark compute engine also efficient for this data. It can handle 10 extra common spatial data formats to load and save data spatial data, on top of the Spark natively supported data source formats. This blog post focuses on the scalable geospatial compute engines as has been introduced in my post about geospatial in the age of AI. Demonstration explained Here, I demonstrate some of these spatial capabilities by showing the data manipulation and analytics steps on a large dataset. By using several tiles covering point cloud data (a bunch of x, y, z values), an enormous dataset starts to form, while it still covers a relatively small area. The open Dutch AHN dataset, which is a national digital elevation and surface model, is currently in its fifth update cycle, and spans a period of nearly 30 years. Here, the data from the second, third, and forth acquisition is used, as these hold full national coverage (the fifth just not yet), while the first version did not include a point cloud release (only the derivative gridded version). Another Dutch open dataset, namely building data, the BAG, is used to illustrate spatial selection. The building dataset contains the footprint of the buildings as polygons. Currently, this dataset holds more than 11 million buildings. To test the spatial functions, I use only 4 AHN tiles per AHN version. Thus in this case, 12 tiles, each of 5 x 6.25 km. Totalling to more than 3.5 billion points within an area of 125 square kilometers. The chosen area covers the municipality of Loppersum, an area prone to land subsidence due to gas extraction. The steps to take include the selection of buildings within the area of Loppersum, selecting the x,y,z-points from the roofs of the buildings. Then, we bring the 3 datasets into one dataframe and do an extra analysis with it. A spatial regression to predict the expected height of a building based on its height history as well as the history of the buildings in its direct surroundings. Not necessarily the best analysis to perform on this data to come to actual predictions* but it suits merely the purpose of demonstrating the spatial processing capabilities of Fabric’s ESRI GeoAnalytics. All the below code snippets are also available as notebooks on github. Step 1: Read data Spatial data can come in many different data formats; we conform to the geoparquet data format for further processing. The BAG building data, both the footprints as well as the accompanied municipality boundaries, come in geoparquet format already. The point cloud AHN data, version 2, 3 and 4, however, comes as LAZ file formats — a compressed industry standard format for point clouds. I have not found a Spark library to read LAZ (please leave a message in case there is one), and created a txt file, separately, with the LAStools+ first. # ESRI - FABRIC reference: https://developers.arcgis.com/geoanalytics-fabric/ # Import the required modules import geoanalytics_fabric from geoanalytics_fabric.sql import functions as ST from geoanalytics_fabric import extensions # Read ahn file from OneLake # AHN lidar data source: https://viewer.ahn.nl/ ahn_csv_path = "Files/AHN lidar/AHN4_csv" lidar_df = spark.read.options(delimiter=" ").csv(ahn_csv_path) lidar_df = lidar_df.selectExpr("_c0 as X", "_c1 as Y", "_c2 Z") lidar_df.printSchema() lidar_df.show(5) lidar_df.count() The above code snippet& provides the below results: Now, with the spatial functions make_point and srid the x,y,z columns are transformed to a point geometry and set it to the specific Dutch coordinate system (SRID = 28992), see the below code snippet&: # Create point geometry from x,y,z columns and set the spatial refrence system lidar_df = lidar_df.select(ST.make_point(x="X", y="Y", z="Z").alias("rd_point")) lidar_df = lidar_df.withColumn("srid", ST.srid("rd_point")) lidar_df = lidar_df.select(ST.srid("rd_point", 28992).alias("rd_point"))\ .withColumn("srid", ST.srid("rd_point")) lidar_df.printSchema() lidar_df.show(5) Building and municipality data can be read with the extended spark.read function for geoparquet, see the code snippet&: # Read building polygon data path_building = "Files/BAG NL/BAG_pand_202504.parquet" df_buildings = spark.read.format("geoparquet").load(path_building) # Read woonplaats data (=municipality) path_woonplaats = "Files/BAG NL/BAG_woonplaats_202504.parquet" df_woonplaats = spark.read.format("geoparquet").load(path_woonplaats) # Filter the DataFrame where the "woonplaats" column contains the string "Loppersum" df_loppersum = df_woonplaats.filter(col("woonplaats").contains("Loppersum")) Step 2: Make selections In the accompanying notebooks, I read and write to geoparquet. To make sure the right data is read correctly as dataframes, see the following code snippet: # Read building polygon data path_building = "Files/BAG NL/BAG_pand_202504.parquet" df_buildings = spark.read.format("geoparquet").load(path_building) # Read woonplaats data (=municipality) path_woonplaats = "Files/BAG NL/BAG_woonplaats_202504.parquet" df_woonplaats = spark.read.format("geoparquet").load(path_woonplaats) # Filter the DataFrame where the "woonplaats" column contains the string "Loppersum" df_loppersum = df_woonplaats.filter(col("woonplaats").contains("Loppersum")) With all data in dataframes it becomes a simple step to do spatial selections. The following code snippet& shows how to select the buildings within the boundaries of the Loppersum municipality, and separately makes a selection of buildings that existed throughout the period (point cloud AHN-2 data was acquired in 2009 in this region). This resulted in 1196 buildings, out of the 2492 buildings currently. # Clip the BAG buildings to the gemeente Loppersum boundary df_buildings_roi = Clip().run(input_dataframe=df_buildings, clip_dataframe=df_loppersum) # select only buildings older then AHN data (AHN2 (Groningen) = 2009) # and with a status in use (Pand in gebruik) df_buildings_roi_select = df_buildings_roi.where((df_buildings_roi.bouwjaar<2009) & (df_buildings_roi.status=='Pand in gebruik')) The three AHN versions used (2,3 and 4), further named as T1, T2 and T3 respectively, are then clipped based on the selected building data. The AggregatePoints function can be utilized to calculate, in this case from the height (z-values) some statistics, like the mean per roof, the standard deviation and the number of z-values it is based upon; see the code snippet: # Select and aggregrate lidar points from buildings within ROI df_ahn2_result = AggregatePoints() \ .setPolygons(df_buildings_roi_select) \ .addSummaryField(summary_field="T1_z", statistic="Mean", alias="T1_z_mean") \ .addSummaryField(summary_field="T1_z", statistic="stddev", alias="T1_z_stddev") \ .run(df_ahn2) df_ahn3_result = AggregatePoints() \ .setPolygons(df_buildings_roi_select) \ .addSummaryField(summary_field="T2_z", statistic="Mean", alias="T2_z_mean") \ .addSummaryField(summary_field="T2_z", statistic="stddev", alias="T2_z_stddev") \ .run(df_ahn3) df_ahn4_result = AggregatePoints() \ .setPolygons(df_buildings_roi_select) \ .addSummaryField(summary_field="T3_z", statistic="Mean", alias="T3_z_mean") \ .addSummaryField(summary_field="T3_z", statistic="stddev", alias="T3_z_stddev") \ .run(df_ahn4) Step 3: Aggregate and Regress As the GeoAnalytics function Geographically Weighted Regression (GWR) can only work on point data, from the building polygons their centroid is extracted with the centroid function. The 3 dataframes are joined to one, see also the notebook, and it is ready to perform the GWR function. In this instance, it predicts the height for T3 (AHN4) based on local regression functions. # Import the required modules from geoanalytics_fabric.tools import GWR # Run the GWR tool to predict AHN4 (T3) height values for buildings at Loppersum resultGWR = GWR() \ .setExplanatoryVariables("T1_z_mean", "T2_z_mean") \ .setDependentVariable(dependent_variable="T3_z_mean") \ .setLocalWeightingScheme(local_weighting_scheme="Bisquare") \ .setNumNeighbors(number_of_neighbors=10) \ .runIncludeDiagnostics(dataframe=df_buildingsT123_points) The model diagnostics can be consulted for the predicted z value, in this case, the following results were generated. Note, again, that these results cannot be used for real world applications as the data and methodology might not best fit the purpose of subsidence modelling — it merely shows here Fabric GeoAnalytics functionality. R20.994AdjR20.981AICc1509Sigma20.046EDoF378 Step 4: Visualize results With the spatial function plot, results can be visualized as maps within the notebook — to be used only with the Python API in Spark. First, a visualization of all buildings within the municipality of Loppersum. # visualize Loppersum buildings df_buildings.st.plot(basemap="light", geometry="geometry", edgecolor="black", alpha=0.5) Here is a visualization of the height difference between T3 (AHN4) and T3 predicted (T3 predicted minus T3). # Vizualize difference of predicted height and actual measured height Loppersum area and buildings axes = df_loppersum.st.plot(basemap="light", edgecolor="black", figsize=(7, 7), alpha=0) axes.set(xlim=(244800, 246500), ylim=(594000, 595500)) df_buildings.st.plot(ax=axes, basemap="light", alpha=0.5, edgecolor="black") #, color='xkcd:sea blue' df_with_difference.st.plot(ax=axes, basemap="light", cmap_values="subsidence_mm_per_yr", cmap="coolwarm_r", vmin=-10, vmax=10, geometry="geometry") Summary This blog post discusses the significance of geographical data. It highlights the challenges posed by increasing data volumes on Geospatial data systems and suggests that traditional big data engines must adapt to handle geospatial data efficiently. Here, an example is presented on how to use the Microsoft Fabric Spark compute engine and its integration with the ESRI GeoAnalytics engine for effective geospatial big data processing and analytics. Opinions here are mine. Footnotes # in preview * for modelling the land subsidence with much higher accuracy and temporal frequency other approaches and data can be utilized, such as with satellite InSAR methodology (see also Bodemdalingskaart) + Lastools is used here separately, it would be fun to test the usage of Fabric User data functions (preview), or to utilize an Azure Function for this purpose. & code snippets here are set up for readability, not necessarily for efficiency. Multiple data processing steps could be chained. References GitHub repo with notebooks: delange/Fabric_GeoAnalytics Microsoft Fabric: Microsoft Fabric documentation – Microsoft Fabric | Microsoft Learn ESRI GeoAnalytics for Fabric: Overview | ArcGIS GeoAnalytics for Microsoft Fabric | ArcGIS Developers AHN: Home | AHN BAG: Over BAG – Basisregistratie Adressen en Gebouwen – Kadaster.nl zakelijk Lastools: LAStools: converting, filtering, viewing, processing, and compressing LIDAR data in LAS and LAZ format Surface and Object Motion Map: Bodemdalingskaart – The post The Geospatial Capabilities of Microsoft Fabric and ESRI GeoAnalytics, Demonstrated appeared first on Towards Data Science.

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